User Reviews

This is yet another film that easily conforms to my theory of Subjective Reality (see Kafka), to be honest it may not even be my theory, but whose ever it was, it has been distorted to my own way of thinking. The Element of Crime begins with a burnt-out cop (Fisher, played by Michael Elphick) who has found his way back to Cairo (after a strenuous case in Europe), being placed under hypnosis by a therapist so the root of Fisher's problems can be discovered. From the first frame Lars von Trier and cinematographer Tom Elling set up the haunting atmosphere, from the shot of the donkey rolling in the dirt, to the drab, blurry images of Egypt. But after Fisher has been placed under hypnosis the world we see is a world of constant darkness, and where the only light is the sludgy yellow sepia. This is not a stylish decision, merely a way of highlighting the murkiness of Fisher's memory, as he digs deeper into the mystery of Harry Grey we soon see the odd flash of a blue police light, von Trier's way of pointing out significant moments in Fisher's recollection.

The pull of The Element of Crime (the film) is that part of Fisher's training refers to The Element of Crime (the book), a journal for catching criminals that involves the pursuer putting themselves into the shoes of the criminal, to live, sleep and breath their lives until they are almost one with them. And that is what leads Fisher on his path, as he is soon recreating the crime scenes and scenarios that Grey might have gone through. Now this all sounds very conventional, but no. Von Trier deliberately paces the film slowly, allowing all the characters to be set-up and, even if they are not really there for any other purpose than to drive the plot. The character of Kim for example, her function is nothing more than plot devise (or to take her clothes off as one reviewer put it). These are all hallmarks of subjective reality, that none of the characters other than Fisher possesses any force in the outcome of their world.

This being von Trier's first film, and me being aware that his cinematic style has changed somewhat over the years, I was expecting the film to look nothing like his other work, but there wasn't too much of a difference, there may have been more attention to mise-en-scene and sound design (most obvious in the excellent sequence where Fisher and Kim recreate the night when Grey met his mistress on the bus), but the film looked so much like the Kingdom that it was familiar, I was more shocked when I saw the drastically different Europa. Now that is a major difference, where as Europa looked like the work of a master film-maker continuing his evolution, The Element of Crime looked like the film of a young director, trying out new techniques, referencing his hero's and gleefully deconstructing the role of film-noir (again handled in Europa).

But the fact that the film looks small scale does not devalue it one bit, as a first film it's an accomplished piece that shows the growing talent that would be nurtured into Breaking the Waves. If at times too complicated and too self knowing for its own good, it's best to allow the film to wash over you, putting yourself, much like Fisher into a dream-like state. The acting is good, but not as good as von Trier would later wrangle out of actors, and for a British audience it's a bit disconcerting to see the star of Boon performing sex scenes and slipping further into his own insanity. So, Part art-house thriller, part film-noir pastiche and part eighties pop video, The Element of Crime is by no mean as easy film to categorise or to understand. It is however a film that deserves to be studied and interpreted, if you are to get the most out of it, a true work of cinematic art. 10/10

Hypnosis and criminology get the once over in this highly disturbing first entry from maverick film-maker Von Trier. A washed up profiler returns home to a post-apocalyptic Europe from Cairo to investigate "The Lotto Girl" murders and becomes determined to prove the methods of his mentor (who has since gone mad) in catching the serial killer. Odes to Hitchcock and other classic film noir abound.

Von Trier manipulates every aspect of every shot (the use of color tones is especially alarming) to create a totally fantasized vision of psychological torture. This, much like his follow up masterpiece, "Zentropa" is the polar opposite of his "no frills" Dogma classics of more recent years "Breaking the Waves" and "Dancer in the Dark." Love them or loathe them, you can't deny the talent and thought that went into making these drastically different works or film art.

Unfortunately, by setting "The Element of Crime" in such a vaguely distant future (I can only guess this is Europe in nuclear winter) and pacing the film to be so hypnotically listless, there really is no heart to this film. "Zentropa" had historical context and better executed tension, and is thus far superior. The only context "The Element of Crime" has is someone else's nightmare.

The screenplay seems to be ahead of its time, as there are many depressingly cynical one-liners that David Fincher wish he had put in "Fight Club." That is the only hint of humor at all to break the oppressive feel of this film, and it is very very dark and nihilistic humor at that. Alas, while you can study and find value in the technical aspects of this film, there is no "joy" to be found, and we, much like the protagonist must awaken from this film nightmare by screaming "I believe in joy!"

Side Notes: ala Hitchcock, Von Trier has a cameo as "the schmuck of ages."

How to describe a film so avant-garde that Dirk Bogarde threatened to quit the Cannes jury if it got an award? A film that references Blade runner, with a burned-out cop (Michael Elphick) brought back into a futuristic Europe to find a serial killer. A film that has been described by some as "The Silence of the Lambs" meets "Delicatessen".

Fans of David Lynch may thrill at this futuristic film noir. Many will run for the exits, as it takes quite a bit of time to develop.

It is Lars von Trier's first English-language film, and it is in a sepia-tone that adds to the feeling that Europe is crumbling. Water is an element that flows throughout, again adding to the feeling that something is rotten.

Elphick hooks up with Me Me Lai in her last film. She had done a lot of cannibal work before this - an interesting combination of actors.

Elphick goes into a experimental drug-induced hypnotic state to try and recreate the crimes and catch the killer. Things get really surreal from here.

Cinematography, sound, and special effects were all superb in this very strange film.

Lars Von Trier's feature début is a stylish, extremely bizarre and intriguing tapestry about an ex-cop (Michael Elphick) who obsessively pursues a serial killer. Playing with different film genres and supported by a fantastic production design, "The Element of Crime" was very different from what I expected, but not in a bad way. This is the first film in Lars' 'Europe trilogy', followed by "Epidemic" (1987) and "Zentropa" (1991). Influenced by Fritz Lang, Terry Gilliam and many others, the film also has a voice of its own (Von Trier's raging verve); I'd call it "The Silence of the Lambs" meets "Delicatessen", so you can have an idea of how bizarre it is. If that sounds interesting to you, you should check it; even if you're not into the likes of "Dogville" or "Breaking the Waves", you may still appreciate it. Interesting for Von Trier fans and admirers of puzzles alike. 8/10.

Lars von Trier's debut film is really remarkable. Monochromatic sepia tone, always night, water everywhere, voice-over throughout - all these elements help in creating an eerie dystopian atmosphere where a serial killer has been killing young girls. The lead protagonist Fisher is narrating the events to his therapist by recollecting his memories under hypnosis, so we can't be sure whether the place was actually like that, or this is how Fisher perceives and remembers it, or maybe the hypnosis has taken him into his memories in a dreamlike fashion. It doesn't really matter which one it is; it essentially creates an intriguing environment to investigate the murder case.

How getting into the shoes and path of a serial killer can drive one mad is shown in an intriguing way, but I wish they had explored the motives and life of the killer a little more.

von Trier shows such talent and promise in his first film itself. The case, the storytelling style, the cinematography, everything really works for this film and makes it one of a kind. I was transported into this dreamlike dystopian place trying to solve the murder along with Fisher, and the credit for that goes to von Trier. There are few brilliantly shot and uniquely lit scenes which are really captivating and memorable.

Though supposedly taking place somewhere in West Germany, I cannot imagine a world such as this, with the exceptions of perhaps a Mad Max movie, or maybe Waterworld. Water seems to be the dominant element in the film; the entire piece is saturated. In one early scene in police headquarters, our hero, Fisher, visits the archives by climbing a rope down to a flooded basement. He wades in waist high water, searching through damp and waterlogged files encased in plastic baggies. He searches for clues to the elusive Harry Gray. This world has definitely suffered some apocalypse, though details are sketchy.

Finding a long forgotten surveillance report, he tracks the movements of Mr. Gray through the muddy streets and towns. He tries to put himself into the shoes of his prey, perhaps too much so. Who is Harry Gray, anyway? Is there such a person? Will the hunter cross the line and identify too closely with the hunted?

Lars von Trier's directorial debut definitely foreshadows some of his later works. All of the lotto girls bear a striking resemblance to "The Kingdom's" poor Mary Jensen. And much of the camera work is reminiscent of "The Kingdom" and "Europa". Although the film is somewhat slow, especially if you've been bred on a diet of standard American cinema, it's dreamy, somber tone is nothing if not original. Shot entirely in shades of sepia, with startling blasts of blue color that remind you that this is not a black and white film of the Fritz Lang era, you wonder if the entire movie is but a dream, conjured in our protaganist's mind and surfaced under hypnosis. Why is he in Cairo being hypnotized, anyway? Was he the killer all along, murdering the lotto girls and mutilating them with broken bottles? Does he really not remember? And am I the only one who sees the similarity between Harry Gray and "The Usual Suspects'" Kaiser Soze. The classic red herring that leads you... where?

More than likely, you will only see this film if you purchase the Criterion Collection Edition (at least in the USA), or borrow it from someone who has. So, is it worth the fourty bucks to add to your collection? If you are a Michael Bay, Arnold Schwarzeneggar, shoot-em-up action guy, then probably not. But if you enjoy something completely different, then this may well be for you. By the way, the Criterion release includes a documentary about the life and work of von Trier, including some of his first adolescent films shot with his mom's 8mm camera. If you are a fan of "The Kingdom", as I am, or of any of von Trier's works, it may well be worth the asking price for this alone; and you can consider the feature a quirky bonus, showing his singular genius at such an early stage.

The plots follows the descent of a reactivated ex-cop, Fisher, into a killer's mind, using a method he has been taught by his old teacher, Osborne. The backdrop of the story is Europe in an unspecified future and after an unnamed catastrophe that let the continent fall in a perpetual darkness, an apocalyptic, anarchic gloominess. More and more, Fisher becomes like the killer as he gets increasingly fascinated with the strangely complex set-up of the murders...

Ultimately, this is a film about moral corruption and cultural decline of the western world. In the tradition of cultural pessimism from the beginning of the century, it paints a gruesome picture of a world devoid of decency and morale. "I want you to screw God into me.", these words spoken by Kim, a hooker Fisher picks up during his travels, are maybe the best expression of the ultimate loss of any metaphysical sense of belonging.

The style of the movie reflects this gloominess beautifully.

There are dark and gruesome nightmares you had that linger on in your mind and strangely, sometimes in your waking hours, you wish you'd get back to taste the sweet despair again... This movie is one of them.

The day after I saw this film for the first time, I had to sit down and watch it again. Not because I thought I'd missed something, but because the story and visuals are so compelling that it's the kind of film you're drawn to watch again and again.

Lars Von Trier has created a world of darkness - both literal and figurative. I can't recall a single scene in this film that takes place in broad daylight. The characters move through a surreal night-time world, where everything seems to be touched by corruption and decay. The places they inhabit - a leaky basement, a dirty hotel, the shell of a broken-down bus - all contribute to the overall sense of squalor and disease that overcomes the viewer.

The story essentially follows a man as he follows the trail of a serial killer. As the plot unfolds, there are hints of some kind of surreal (almost supernatural) cycle or pattern into which the detective has fallen. As the film builds to a climax, the viewer's feelings of uneasiness grow along with a sick kind of fascination when the realization of what is happening takes hold.

This film, with its mixture of dreamlike visuals and a nightmarish story, is one of the best foreign-language films I have ever had the privilege of seeing. I would highly recommend it to fans of David Lynch, Jeunet & Caro, Soderbergh's "Kafka," or as a good introduction to Von Trier.

I have to say that when we consider the setting, it is one of the best films I've ever seen. The black side of the Europe with all those shades of red and orange is very impressive. On the other hand, thanks to the classic Von Trier understanding, it is longer than it could be and it is boring than normal films. He would do the same thing while filming the "Dogville", which contains a great idea and innovative scenes but still being a long and boring movie.

Also, I must recommend you to see other two movies of the trilogy. They are all successful in filming. Of course, if you have enough patience to handle the boring minutes in them. I can say that Von Trier was "this" close to create a masterpiece in his early period but in a sense wasted it in order to create a personal cinematic style.

As a Lars Von Trier fan I thought it was about time that I took a look at his first three feature film and bought the 'Europe' or 'E' trilogy on Amazon (other retailers are available thank you please). Although Lars himself isn't a particularly likable character, his films are wonderfully distinguishable. Breaking the Waves and Dancer in the Dark are amongst my all-time favourites, and I find myself consistently drawn to his 'Depression' trilogy which imagines Charlotte Gainsbourg in various levels of mental distress. After watching The Element of Crime, it's clear to see how far Lars has progressed as a filmmaker.

The Element of Crime is like watching one of The Simpson's being pulped to death and put into a blender, an incoherent yellowy mess. It opens with some interesting surreal imagery depicting a horse being pulled out of some water. It left me hoping for a nightmarish Lynchian journey and whilst it was certainly odd, I found myself wanting to float to actual dream land rather than compelled to watch the one presented on screen.

I couldn't tell you what the film was about. The back of the DVD calls it a neo-noir about a cop tracking down a serial killer and that's about the gist I got as well. Some English bloke drives around in a beaten-up tin car and pointlessly encounters people. The dialogue is completely illogical and never makes sense, this means that you can't feel any sort of connection to the characters or care about what they're doing. The film is entirely interested in bizarre visuals and fancy camera movements.

There's no denying the strong sense of style. The cluttered mise-en-scene and strange lighting creates a stark atmosphere, however this simply isn't enough to sustain a 100 minute movie. I'm afraid to see what Epidemic and Europa now have to offer, I can only hope that they're an improvement on this boring mess.

Few feature-directorial debuts can astound so greatly and at the same time puzzle so much in a sense of the macabre. The Element of Crime relishes, bathes in the unusual in cinematographic technique, while giving new meaning to a science-fiction 'neo-noir'. The plot seems simple enough: man on a case to hunt down a killer, and using a code called the 'Element of Crime' to get into the headspace of the killer, follows a list of 'trailing' of the killer to get to him step-by-step. The cop, Fisher, is so wrapped up in the case that it starts to bleed into the rest of the environment around him, a barren landscape with criminals all over the place and a architectural sense of madness (anarchy, we're told, rules over freedom in this unnamed city).

It is simple enough, and at times von Trier gives us information to keep to where it's going. But it's strangely a hard story to follow because of how much the director is fond much more of the technique at his disposal. This is an experiment that makes Alphaville look comfy. It's slow camera movements, sometimes echoing (if not outright ripping off) the sense of the calm, meditative movement of Tarkovsky's Stalker. And some of the movements and manner of speaking of the characters just go off the wall. Nothing is of the usual here, and the actors perform their lines, while very well, sometimes in a trance. Other times we get the narration, of sorts, between Fisher and his former boss or other back in Cairo. It is a story that does dig into the mystery, and we can follow it with some engagement, but that's not fully, I think, von Trier's intention.

What he does, as a precursor of his future work, is to get us in a state of mind. Some will want to walk away from it, and I don't blame you if you do. Element of Crime confronts the viewer without doing a talk-to-the-camera moment. It's about the tone and look of the piece, its sepia decay, a view of Europe that is about as hopeful as an orphan bonfire. And yet it is incredibly compelling in how von Trier gets us, as a filmmaker, interesting in what happens in this world. It's got a confounding beauty and horrific wonder about it, an expressionist going through a somber melody that is far from 'entertaining', but carries an artistic pulse that is frighteningly alive. That it also carries the guts of a hardboiled film-noir always lurking in the shadows marks it as a hybrid. Perhaps it's like a fever dream of one of those stories or movies where an anti-hero is fully transformed and made damned.

The Element of Crime made me weirded out at certain points, and horrified by some of the extremes shown (i.e. the death of a horse, a constantly rotating camera around Fisher in manic pain, a glass breaking in a shot that seems to be from another one). Certain times I almost didn't know whether I loved it or hated it. By the end, after stewing about it for a while, I realized I was in the middle. It's a film I'll want to return to, and I'll be curious to see my own response to it - a rich film of dark, even mortifying shades.

I am an ardent fan of Lars von Trier, so my review my be perhaps slightly biased. A detective returns to Europe from abroad, yet it is a wasteland -- dark, dreary, crime-ridden, and backwards. The lighting, most of all, steals the show. It sets the mood, experience, and the interactions of the characters. It leaves the viewer engrossed. The characters are well developed and the part played by Michael Elphick provides an almost haunting experience through his voice. Overall, the first half is much more captivating than the latter half. The film, if one is not full acquainted with the style of the director, can seem to be endless. As for the Europa trilogy, of this film is a part -- this would be the second best. Europa (1991) is much better in style, while Epidemic (1987) is best not to be watched at all. I would rate this as a 7/10.

This is the kind of movie that sends 90% of the audience looking for the exits (or the "Eject" button on their VHS/DVD players), while the remaining 10% claims it's a "masterpiece". Very demanding, very suffocating, very pretentious. By making a film whose extreme ambitions are matched only by the boredom it induces, Von Trier proves to be a worthy successor to Tarkovsky (and that's not a compliment). Of course in Tarkovsky you would never get a line like "I'll sc*ew you to the Stone Age!". (*1/2)

It's taken me a long time but I've finally managed to see Lars von Trier's debut feature film. And boy, was it worth the wait! Those who are mainly familiar with his recent work might find this fascinating and visually stunning movie a bit of a shock to the system, but if you've seen his superb thriller 'Europa' you will have a better idea what to expect. This was made way before von Trier's vow of cinematic chastity, and he pulls all the stops out. 'The Element Of Crime' is a future noir and deliberately references 'Blade Runner', but there are also dollops of David Lynch in there, Tarkovsky, Terry Gilliam and possibly even Cocteau. It's such a kitchen sink mix of influences that each viewer will probably see something else echoed in it. That's not to say the movie can only be appreciated by movie snobs and trainspotter types, it's a very enjoyable viewing experience in its own right. The cast is a very interesting and eclectic mix. The lead Brit character actor Michael Elphick is recognizable from 'The Elephant Man' and 'Withnail And I' among many other things. He is supported by Shakespearean veteran Esmond Knight, 'The Time Bandits' Jerold Wells, and Me Me Lai, best known for cannibal exploitation movies by Deodato and Lenzi. Quite an odd group of actors but they are all very good and fit together well. The movie itself is a mystery, and if the plot doesn't suck you in the amazing visuals will. The first time I watched 'The Element Of Crime' I was slightly disappointed, but a second viewing the next day really opened my eyes. Lars von Trier is one of the most interesting and original directors currently working, but he is certainly no late bloomer. 'The Element Of Crime' shows he was absolutely brilliant and innovative from the very beginning. This unique film is highly recommended for science fiction buffs and arthouse fiends alike. After you've digested it (and multiple viewings might help) watch 'Europa' which is even more impressive in my opinion.

The Element of Crime is a complicated movie, that definitely has something of a surrealist painting in it, filled with darkness, mud and repetitionary references regarding Europe and the Europeanness (if there is such a word in English). After Nietzsche's assertion that God is dead and the outburst of postmodern relativism, the European individual finds himself in a dim search for his own identity, roaming to and fro not knowing who he is and which way is the right one. The same happens with Fisher, the detective that returns from Cairo to Europe (where in Europe, that is of no importance, since Von Trier depicts a common unassumed Weltanschauung, valid for the entire continent) in order to discover a serial killer. But this quest mustn't necessarily be regarded as a sequence of events, culminating in a meaningful end. On the contrary, it is probably more indicated to consider it a radiography of Europe of the 20th century, confused and bewildered, not knowing who to blame for its disasters, seeking salvation outside its axiological system (as Fisher does, "screwing a Volkswagen 2000 in the middle of Europe"), and finally finding out that only her and her offspring are to blame.

Detective fisher is an exiled cop who has lost his memory. In the film's beginning, an Egyptian psychiatrist puts him under hypnosis. Then his story is told. We are taken to a futuristic film noir style Germany. Fisher is trying to catch a serial killer who preys on young girls. Along the way he develops a strange relationship with a prostitute. Lars Von Trier's debut "The Element of Crime" is similar to his "Zentropa", except it takes place in a bleak post apocalyptic future. Shot in brown sepia with occasional tints and splashes of color, at times I was reminded of "Sin City". But it's vision of the future closely resembles Jeunet and Caro's "Delicatessen" and "City of Lost Children". Also it recalls the work of Russian director Tarkovsky. "The Element of Crime" moves slow at times and is somewhat confusing. Even with its slight flaws, It's still a stunning and surreal cinematic experience that you'll probably have to watch more than once.

This film does its job well. If you don't follow the reason for everything you see, don't worry about it. In the beginning, the story is set up so that we're (possibly) seeing the film as if we're under hypnosis with the main character. From this subjective spot, anything you see can make sense, because it doesn't have to represent the reality you walk through on your way to work. So if that doesn't sound like a bad film to you, then find this and rent it.

I saw this after watching The Five Obstructions in the theater a few weeks ago and enjoying that. Maybe you'll like it too. They're very different films. But who wants to see very similar films over and over? Oh, right, just about everyone, that's right... actually, me too.

Von Trier's first film ranks with anything he's ever done visually, but otherwise it feels very much like a first movie, even a student film by a student of obvious genius. While Von Trier's visual influences are more obvious here than usual- namely, Tarkovsky, he borrows the style and perhaps transcends it. The use of water here is perhaps more dazzling than anything Tarkovsky achieved. Their are surfaces that seem impossible and dream-like, above and below the abyss at once. It is very dream-like, and that is a problem. The plot is a rather over-baked Kafka-ized noir cliché. As in "Europa," its all about how all is already written, but not in the religious, apocalyptic sense of his later work. Here, the apocalypse has already happened. All presence is absence. Which, I think, makes Von Trier a filmmaker alert to his cultural moment. Everything was inevitablest, post-modern irony until shortly before 911, and then the possibility of radical rupture re-introduced itself into the world, and into Von Trier's art. Change, be it glorious or disastrous, messianic or satanic, was and is again on the menu.

The Element of Crime, also known as Forbrydelsens element, is a 1984 crime film directed by Danish filmmaker Lars von Trier that also marked his international debut. The Element of Crime is the first installment in von Trier's highly acclaimed Europe Trilogy—the other two being Epidemic (1987) and Europa (1991). Renowned for his exceedingly unconventional and visually stimulating style that often reminds one of Andrei Tarkovsky, Lars von Trier is unarguably the most influential filmmaker to have emerged out of Denmark since Dreyer.

The Element of Crime presents the story of a European police detective whose morbid obsession for the criminal investigatory methods of his mentor makes him question the veracity of his own existence as he slowly gets engulfed in a miasma of delirium and paranoia. The Element of Crime is cryptic, bizarre, hypnotic, ambiguous, contradicting and at times absurd, and perhaps that's what makes it so brilliant, unique and engaging at all levels. The movie's experimental camera-work is highly reminiscent of Welles' Citizen Kane (1941). Von Trier films the movie in an orange monochrome, occasionally punctuated by shafts of green and blue—a facet that inexplicably reminds of Tarkovsky's use of the sepia tone in Stalker (1979). In fact, it would be safe to concede that von Trier's mise en scene seems to be a well thought-out variation of the Russian master's mise en scene in Stalker.

The Element of Crime despite being rife with analogies, symbolism and allegories serves to be a consummate cinematic experience for the intelligent viewer. The Element of Crime is a psychological thriller, part character-study, part police procedural with surrealistic overtones that's intellectually and technically superior to most movies of its kind. The Element of Crime catapults the viewer in a Kafkaesque world of breathtaking visuals, bizarre juxtapositions and endless absurdities. The Element of Crime is a difficult movie to watch and is surely not meant for those who are looking for a popcorn flick to spend a cozy evening in a dormant state of mind. It's a movie that the less keen viewer may like to skip, but it definitely serves to be a rewarding experience for those who understand and value thought-provoking cinema.

A more detailed review of the movie can be read at:

http://www.apotpourriofvestiges.com/

Lars von Trier is famous for his different approach in topics and with camera, and The Element of Crime is his first feature film, where his visions and working mode are visible already. However, having seen this film, I should admit that my wishes and purpose to watch topical films are different; well, either cop or criminal might have different considerations and all psychology stuff can be shown as well, but not together with deviating the viewers from a logical ending where unknown events become known and offender or offenders are revealed. In the film in question, the cop Fisher (decently performed by Michael Elphick) is eager to find out the truth, but his condition as "under an influence" and references to the past make the total film too slumberous and arid. Family dramas, for instance, are more watchable through distress and tardiness.

However, it is definitely a film with a difference and admirers of Von Trier would enjoy it.

The good: a good idea. The bad: less substance than "Pi", less clarity than "Eraserhead", more lurid than any vampire movie could ever be. The ugly: it's nausea-inducing and sleep-inducing at the same time.

The acting is void, meaningless and I believe it was not because of a lack of talent on the part of the actors, but a deliberate decision of the director. And it backfired miserably.

Lars von Trier announced his presence to the world with this stunning vision of a bleak future. I've now seen this three times and the only thing I'm sure of is that there is so much that will come out with even more viewings. It is unlike anything I've ever seen, or probably will ever see again.

9/10

This is one of those movies that you either love or hate. On the pretext of investigating murders perpetrated by a serial killer von Trier leads us down to the subconscious mind of inspector Fisher in atmosphere of black surrealism. The scenery is one of water (as a symbol of oblivion?), darkness and filth everywhere. There is not a single plan taken in broad daylight. Outside it rains continuously and the characters move themselves among heaps of litter, mud and wreck. Interiors are gloomy either of a hotel room or a police bureau. Even people's clothes are shabby and stained either of police inspectors or hotel managers. Of course this must have some symbolism incomprehensible to the common viewer. The story is told by inspector Fisher while he is being analysed by a therapist in Cairo of all places. Later on this style has been more successful developed with such directors as Wim Wenders or David Lynch. However this movie was presented in the Cannes Festival in 1985 and had a great success there.

After reading all the reviews here on IMDB, I was anxious to watch this movie, so I taped it on IFC and eagerly sat down to view it the next day.

I suffered through about 25 minutes of this wreck before finally shutting off the VCR. Perhaps I missed out on all the highbrow cinematographic wonders everyone was writing about in their reviews. I just didn't get it at all. This thing was horrible. And dark. And depressing. Etc. Skip it.